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Meteora - a chain of Greek-Byzantine monasteries was built around the 14th century on top of sandstone rock formations in the fading range of the Pindus Mountains, in the Thessalian lowlands of Greece At an over 600 meters high, some of them were only accessible by rope ladders or winches for hundreds of years. Makiko Hirabayashi learned of this place during a concert tour to Athens and was immediately captivated by its symbolic power: the isolated units which nevertheless exist in a larger context; fragile and floating, but at the same time firmly grounded. The opening title of the new, fifth album of her trio seems to have been perfectly chosen; "Warp", relating to the space above the early monasteries on the rock formations, as well as connecting the album to her previous release Weavers, in which much was woven with warp threads. A high-pitched bass, the subtle use of electronics, like everything else that follows, seem to emerge somehow from outer space. These are seemingly simple structures that only reveal themselves as complex architecture upon repeated listening - meditative and fleeting, but at the same time permanently carved into the rock. Minimalistic piano figures from which melodic fragments emerge, in their very clarity offer ample material for improvisation. With onomatopoeic percussion, an impressionistic and scenic painting is sketched in "Birds Ascending", whereas enthralling rhythms lead the way in "Chestnut Alley" or the sky-racing "Meteor". In between those, you find the improvised miniatures like "The Door" or "Slip", aspherical connections between worlds: imaginary doors, rope ladders or hinges. After the lockdown album Weavers, Makiko Hirabayashi is back in the piano trio setting with Klavs Hovman on bass and the legendary percussionist/ drummer Marilyn Mazur, reclaiming her space and time. Some of the material produced here has been part of their live repertoire for some years and gone through a maturing process, becoming an integral part of the whole album put together in the spirit of Meteora.

Problem Patterns have got something to say and they're going to say it fucking loudly Unfiltered, raw and absolutely vital, queercore quartet Problem Patterns are angry. When Problem Patterns reconnected during a break in the pandemic, they realised that the mission was more important and the rage was extra- critical. This, surely, was punk rock time. Problem Patterns are not limited by age or ability or binary identities. They don't have a front person, they swap instruments and roles to ensure that each member of the group has a voice. They espouse queer punk and they have shared touring schedules with Queen Zee, JOHN, Pink Suits & soon to be Bob Vylan. They are part of a supportive musical community in Belfast that includes Gender Chores and Strange New Places. Live shows are celebratory and uplifting. Outbreaks of fun and positive havoc are part of the experience. The band's admiration for Bikini Kill and the riot grrrl movement led to an online conversation with the artist Kathleen Hanna, who they later went on to support (Bikini Kill) in Manchester and Glasgow. "She's been part of relighting the fire," says Ciara, "and the trust and confidence we have in ourselves as a band. We've for more of a 'fuck it' than we've ever had. And we already had that. Punk provides protest songs and it provides a release for feelings." Beverley agrees: "We're talking about what's currently happening right now. Always.

Baiana (pronounced By-Anna) is the alias of powerhouse Liverpool-born Brazilian jazz artist, Laura Doyle Following on from performances at Love Supreme, the Manchester Jazz festival, world famous jazz clubs The 606 and Pizza Express as well as an unprecedented 12 weeks on the A- list of the Jazz FM playlist, with her breakthrough single "Saudade Samba" Baiana's highly anticipated self- titled debut album is finally here. Produced by the legendary UK Latin percussionist, Snowboy, 'Baiana' features 11 finely crafted songs covering a huge range of Brazilian styles from fiery Sambas to Bossa Nova, Jazz Fusion to Baiao and everything in-between. Singing in both Portuguese and English, Laura evokes a vocal style reminiscent of the great romantic torch singers of the 40's and 50's such as Julie London and Peggy Lee and yet one can clearly also feel the passionate expression of Portuguese Fado and the Brazilian greats such as Elza Soares, Gal Costa and Elis Regina as she sings of love-lost and broken hearts. An unexpected candidate for Brazilian jazz with her Scouse accent and fiery red hair denoting her Irish roots, Laura became enraptured by Brazilian music after living in Rio de Janeiro where she was seconded as "first lady" with the Italian diplomatic service.

-Side Project of Jordan Chini aka the artist "Boy Dude".
-Recorded and Mixed in a traditional analog 4-track tape dub style.
-Available on black vinyl and on limited edition glacial clear blue vinyl.
Under the name Count Dubula, LA based multi-instrumentalist, music producer and composer Jordan Chini performs, records, and mixes old-school style dub/reggae in the various traditional styles of his inspirations (like Scientist, King Tubby, and Lee Scratch Perry). With a love for recording live instruments and analog synths, Count Dubula’s rhythms and melodies are recorded to tape, then married to an analog mixer and improvisation-ally mixed, accompanied by a space echo, spring reverb, and hi-pass filter.

-Side Project of Jordan Chini aka the artist "Boy Dude".
-Recorded and Mixed in a traditional analog 4-track tape dub style.
-Available on black vinyl and on limited edition glacial clear blue vinyl.
Under the name Count Dubula, LA based multi-instrumentalist, music producer and composer Jordan Chini performs, records, and mixes old-school style dub/reggae in the various traditional styles of his inspirations (like Scientist, King Tubby, and Lee Scratch Perry). With a love for recording live instruments and analog synths, Count Dubula’s rhythms and melodies are recorded to tape, then married to an analog mixer and improvisation-ally mixed, accompanied by a space echo, spring reverb, and hi-pass filter.

Legendary bass player, songwriter and vocalist of The Moody Blues and Rock and Roll Hall of Famer, John Lodge, is releasing his version of the iconic album ‘Days of Future Passed’, entitled ‘Days of Future Passed – My Sojourn’, to accompany his tour of the same name. The album was recorded over the last year, and has grown from John’s current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album. The album also features a special recording by the late Graeme Edge and performances by Jon Davison of YES. It is being released as part of John’s celebration of the album ‘that changed his life’, and with the hope that it will continue to introduce fans to the original iconic recording. The album’s orchestration is by John’s long-term collaborator, and great friend, Alan Hewitt. Now as a vinyl LP record.

Available on LP for the first time outside of Japan, experimental rock pioneers BORIS & noise mastermind MERZBOW present Klatter, the third collaboration between the two groups, and 04092001, a collaborative album featuring live renditions of the original Heavy Rocks LP!

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk. Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury. Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders. Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt. Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone. Guitarist and vocalist Tim Rosenquist says: “Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”. Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of. Harmagedon is: Tim Rosenquist - Guitars & Vocals Magnus Berglund - Bass Jens Bäckelin - Drums

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk. Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury. Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders. Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt. Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone. Guitarist and vocalist Tim Rosenquist says: “Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”. Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of. Harmagedon is: Tim Rosenquist - Guitars & Vocals Magnus Berglund - Bass Jens Bäckelin - Drums

For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals. Jason Grimes is all about making timeless music. The Cincinnati-based DJ and producer has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimes works with some of Cincinnati’s finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. As a teenager in the 90s, Grimes fell in love with hip-hop at an early age. He became comfortable scratching on a pair of 1200s and sampling records with an NPC in high school. After years of collecting records and working on his sound behind the scenes, he had compiled a huge discography of original songs – but he wasn’t sure how to share them. “I got pretty burnt out and I had to take a hiatus for a few years,” he explained. “There wasn’t much going on in the Cincinnati music scene, and it always felt like an uphill battle.” Then, on a casual bike ride with his wife through Loveland in 2015, Grimes came across a new record shop. “I heard some music playing and I saw a sign that read ‘funk/soul’ – I had to go in and see what these guys were all about.” He spoke with Terry Cole, co-owner of Colemine & Plaid Room Records. “It was a breath of fresh air to meet Terry. The interaction inspired me to start making records again.” A short time later, Grimes started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. “Doctor Bionic is a studio band of session musicians,” he shared. “The personnel changes on every record. It depends on the sound I’m going for.” For every record, the goal is to make timeless music. Grimes is responsible for writing, recording, producing, mixing, and releasing the records. Spiritual Conquest features several heavy hitters from the Cincinnati music scene. Brad Myers and Brandon Scott played guitar on a few tracks each. Marvin Hawkins laid down some live drums. The album offers a dynamic mix of instrumental hip-hop sounds. From punchy, head-bobbing beats to ethereal, floating piano lines, the mix offers a little something for everyone

This 12” EP features the original 12” mix of the in-demand and much sampled early 80s jazz-funk classic, ‘Neptune’ plus two previously unreleased tracks; An extended version of the rare boogie cut, ‘Live It Up’, originally released as a B-side under the pseudonym D’aile’, and ‘Kevin’s Funk’, referencing Incognito trumpet player Kevin Robinson, who made up the Congress affiliated line-up for this stellar Gonzalez session.

CUT THE ENGINES is the third album by All Structures Align, following the critically acclaimed Details And Drawings and Distance And Departure (both released on Wrong Speed Records in 2022). All Structures Align began as a studio project reuniting brothers Tim and Adam Ineson of 90s underground rock heroes Nub. Their debut album Details And Drawings took everyone by surprise.

Rather than sounding like a tentative bedroom project, it arrived fully formed and with its own identity. It was an album of unhurried patience, of mounting tension (and eventual release) and it possessed a depth that rewarded repeated listens as irresistible hooks revealed themselves almost casually to the listener.

It also felt slightly out of time: no rush to the chorus, no gimmicks, no desire to pack out every second of space with sound. Lots of people agreed and the limited vinyl pressing sold out almost instantly. The follow-up came within the same year with the brothers recruiting drummer extraordinaire Neil Turpin (Objections, Bilge Pump, Polaris) to bring swing and pulse to their songs.

Distance And Departure was the result and widened their audience and acclaim further. So much so that the brothers decided to venture out and play live. To do so they brought in Oli Heffernan (Ivan The Tolerable, King Champion Sounds) on bass and Andrew Pollard (Polaris) on guitar and additional vocals.

If you’ve been lucky enough to see All Structures Align live over the last year, you’ll know this expanded band bring the songs to life beyond simple recitation. Those dynamic shifts in the music are now larger than life and fully multi-dimensional. Cut The Engines is the first All Structures Align release to capture the five-piece live band in the studio. Eight songs as spacious and measured as their previous work but with an increased directness and drama that seems to come from the interplay between people in a room.

Whilst never getting down to Ramones levels of brevity, the songs are compact and sharper than before, as though the addition of extra personnel has allowed their musical language to become more concise and effective. The songs still feel like rich novels condensed into short stories, but the band format has brought a confidence and ease to the telling that increases their impact. The resulting record is their most accessible yet, a slow-core indie-rock masterpiece that will intrigue and delight existing fans and newcomers alike for decades to come.

Leatherette’s 2022 debut album Fiesta offered an intense, inspired and individualist take on post-punk, their caustic riffs, fevered saxophone blasts and impassioned vocals revealing the five-piece skilled purveyors of the form.

The group's second album Small Talk, however, is clearly the work of a group ready to take flight in a new direction all their own. As they toured Fiesta across Italy and Europe, Leatherette grew tired of the genre's constrictions and yearned to spread their wings. Small Talk transcends all the group have done before and coins a voice uniquely their own, driven by the same furies that propelled Fiesta, but finding fresh new forms for expression.

The album boasts some of Leatherette's most unabashed pop-songs to date – albeit pop that's deftly twisted, pointedly perverse and ready to explode when you least expect it.

It also contains some of the group's most challenging and uncompromising noise yet, the violent swinging back-and-forth between ugly din and nagging tunefulness a (molotov) cocktail that grows only more addictive with each listen. Where Fiesta saw the group enter the studio with a batch of anthems they'd honed on the road, their approach for Small Talk was very different, leaving the sessions open to moments of on-the-fly invention and sparks of mad genius. The interplay between the five musicians is so much stronger this time around, the group say, a result of the months of touring the band put in following the release of Fiesta.

Living out of rucksacks and spending hours on the motorway in a tour van might not be everyone's idea of a good time, but that's what Leatherette credit with sharpening their intra-group bond, their almost telepathic feel for the sounds that will complement what their bandmates are playing. “We were more free to play and to rearrange, because we knew each other better now,” says guitarist Andrea Gerardi, “and the interplay is more focused on this album as a result.” The sessions for Fiesta were frustrating, Andrea says, because “we were playing the same songs over and over”.

Their approach was radically different for Small Talk, however, which saw the group file into Bronson, a local club where they've often played before, and record the album on the premises. After the sessions, the album was mixed in Bristol by Chris Fullard (Idles) and mastered in Portland at the legendary Telegraph Audio Mastering by Adam Gonsalves. "We recorded live, all playing together at the same time, rather than overdubbing the instruments," says Michele. The process, he says, "made us more coherent, and the songs more spontaneous." "Our strength is live performance," adds Andrea, "so we tried to capture that interplay. Sometimes we made errors, but we didn't care, because it sounded great. This music is our lives - it doesn't need correction. We were free for the two weeks we recorded the album, and the ideas soared in the most amazing way." Indeed they did. The album's see-saw between angular noise and pop coherence is very much its strength, and very much the sonic identity of this singular group

Repress!

Jason Williamson – “Discourse chapters that dark silence in the vaults of the unskilled worker. The acceptance of all that is horrible and endured. Moments of connection between living vessels are rare but sometimes they they do pass through the wire and lives are understood for a flicker of a second.”
“Eton Alive chronicles the scenes outside, mostly sleeping bags. Dulled reds, greens and cardboard head boards. Paper cups, bitten around the edges, full of copper."

Long-cherished underground stalwart Claus Voigtmann finally serves up his long-awaited new album Life Miles after many years of essential sounds on labels like Assemble and Intermission. He really shows his range here with a record that draws on his experiences of playing around the world in all sorts of different settings.

'Pinfire' and 'Transitory Moments' open up and take you to the heart of fabric, a club he has played so often, while 'North of the Sun' heads off into space on sleek electro rhythms while the likes of 'Abundance' bring cosmic melodic fun to a lively and inventive rhythm. Elsewhere there is the high-speed electro-funk of 'Flight Of Fancy' and the introspective downbeat trip 'Send Love To The Future' making this a varied and vital affair.

Social Limbo is the new album by OPEZ. A collection of eleven dreamy, rough, abundant instrumental songs which have the guts to subsist and survive the fluidity of our times. With his melodies Massi Amadori tells the nostalgia and melancholy of a lived, loved and consumed Italy.

In the Limbo of a rebirth. With the desire to imagine himself female, sensitive, sexy. With a swinging mood. The dreamlike suggestion in “Male Nostrum”, the mysterious love in “Venice”, the social raids in “Social Roll”, the dust and the silence in “Limbo” are just some of the tracks that represent the meeting in a place between dark and light, between east and west, with the heart in the south. And as always in that Limbo between life and death. The eleven tracks represent a shared work with musicians and producers of the caliber of Andrea Benini (Mop Mop), Francesco Giampaoli (Sacri Cuori, Hugo Race) and Manuel Volpe (Rhabdomantic Orchestra).

Recorded between Turin and Ravenna in the hot summer months from 2020 to 2023. Once again the images and graphics are curated by the Umbrian artist Aimone Marziali. Mastered by Kelly Hibbert at Almachrome. produced by Andrea Benini.

Preston’s unholiest sons Evil Blizzard return with their most furious, compelling and diverse album to date, released on their own Crackedankles label, (which has recently branched out into releasing the likes of Hotwax, Thank, Bad Guys and TV Face.) Following the critical and commercial success of their last album ‘The Worst Show On Earth’ the band took a year off after that tour to recoup. And then got back together in March 2020, just in time for… another enforced year off. They did, however, release ‘The Very Best Of Evil Blizzard’ on vinyl, which was completely blank. And sold out in less than a day. The new album, their fifth, was written during and post lockdown and ‘reflects the claustrophobia, fear and paranoia of those days’ according to guitarist (not bassist!) Filthydirty. ‘The band has changed. One of our 4 bassists Kav left and we were joined by Fleshcrawl (aka Mr. Dibs, Hawkwind’s vocalist and bassist for over 12 years). Kav was inimitable as a musician, so it never crossed our minds to try and ‘replace’ him, so when Fleshcrawl scurried in he brought a whole new range of sounds and toys to the sandpit. Also, we’d run out of sonic space to play with, having just the basses, and everything had got a bit stale - so I switched to lead guitar which brought a whole new range of possibilities. 'The new album is much more representational of the band’s record collections: it retains the ‘Sabbath-meets PiL-meets Killing Joke’ sound found on the band’s earlier albums, but now encompasses dub, goth and electronica in its 8 tracks, with clear nods in the general direction of Sonic Youth, Jane’s Addiction, Leftfield and The Mission. As opposed to all previous albums which were recorded live in one or two takes, this album took over three months with the band meticulously de-structuring songs ‘that sounded too much like pop songs’ resulting in an album that is uncomfortable yet still accessible. Featuring cover art by the legendary Nick Blinko or Rudimentary Peni, the album is released in gatefold sleeve on black vinyl, compact disc and DL.

Repress!

In the last few years we’ve seen French DJ and producer Laroye delivering the goods time after time on respected labels such as Atjazz Recordings, Compost, Makin Moves and Foliage. His latest LP just released on Local Talk has been getting big support picking up plays on Radio 1, 6Music, Worldwide FM as well as spins from Natasha Diggs, Gilles Peterson, Craig Charles, Louie Vega, Honey Dijon to name a few. Freerange is proud to welcome him back for the follow up to 2020’s release Be The Change, presenting you with a killer 4 track EP entitled Uku Dance.

Leading the charge, Laroye is joined by influential Detroit artist, DJ, producer and vocalist Javonntte who has written and recorded a brilliant vocal for a track entitled First Sight. Laroye’s fat beats, jazzy chords and soulful touch make the perfect production for Javonntte’s vocals.

Up next we have the Percussive Dub mix of Uku Dance in which Laroye strips things back to the bare bones making for a serious percussion tool work out to spice up your sets.

On Uku Dance a bass-heavy groove is punctuated with vocal chops and deep Rhodes part which adds a moody, late night touch. Just the kind of soulful, dubby, afro track that will get the house dancers throwing down like their lives depended on it!

Closing out the release you’ll find an instrumental version of First Sight.

The forever exploring electronical entity of a band, Gusgus, has opened yet a new era in their unique sonic multiverse. With their 12th album, the course is set to a strange mysterious place called DanceOrama. A Rave-Mall in a nostalgic future, DanceOrama is the place to be, where you can experience infinite freedom, genre and gender free. Moving from the pulsating new-wave influenced techno pop of the last album “Mobile Home” (2019), Gusgus emits the vibe of DanceOrama on their new album as an arousing, melody-rich hybrid of 80s/90s parties and raves. The 9- track album is slated for a November 10th release. The release is evenly split up in euphoric fusioned pop anthems and genre-free instrumental journeys.

Gusgus‘ last album “Mobile Home” was the later of twin albums that found the band exploring early 80’s new wave influences and reviving them in the iconic Gusgus soundscape. The highlight on the album was a pulsating techno reggae track called “Higher” that introduced a new member into the band, Margrét Rán, the lead singer of “VÖK”.

Whereas on “Mobile Home”, the concept was stationed in a rural environment of a dystopian side reality, Gusgus now moves to the city. In this city of strange discomforting future omens, DanceOrama stands out as the rave-mall of freedom. Leaving the new wave influences, this album is a strange hybrid of the 80’s and 90’s parties twisted into a genre-free blend of arousing experiences.

The album consists of 5 instrumental tracks and 4 vocal pop songs, ranging from 105-158 bpm and exploring various influences from the 80’s and 90’s and even the 70’s in a strange fusion of techno, trance, italo-disco, house and pop that emits the rawness and innocence of previous decades. The pop songs are quite strictly set as stories related to the mysteries and rumors of DanceOrama. One track in particular will be very exciting for our fans, as it has been a regular final track on our live show since the album “Arabian Horse” in 2011. This is the track “Breaking Down” that was recorded during the album “Mexico” in 2013 with “Earth” and “Högni” on vocals but, due to emotional turmoil, has never been released until now.

FROM RAY CHARLES TO SELAH SUE, FROM NINA SIMONE TO IBEYI, FROM BARRY WHITE TO ALOE BLACC, DISCOVER THE BEST OF THE GREATEST VOICES OF SOUL MUSIC OF ALL TIME IN A 5 VINYLS BOXSET